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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Plav in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both, starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Not a Bit Jealous 

A Comedy Sketch in One Act 



By 

FRANK DUMONT 

Author of "The Depot Lunch Counter," "A Quiet 
Hotel" "How a Woman Keeps a Secret" etc. 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1918 






4^ 



Copyright 1918 by The Penn Publishing Company 



•WR I7!9i8 

OciD 49357 

Not a Bit Jealous 



Not a Bit Jealous 



CHARACTERS 



George Schemer - - - - very suspicious 
Mrs. Bella Schemer - his wife — still more suspicious 
Hiram Soft a delivery clerk 

Time. — Thirty minutes. 



STORY OF THE PLAY 

Romantic Mrs. Schemer decides to test her hus- 
band's love. She hires Hiram Soft, a delivery clerk, 
to make love to her and thus arouse her husband's 
jealousy. " How big a man is your husband? " Mr. 
Schemer discovers the plot, and hires Soft to dress in 
women's clothes and make love to him. " Say, don't 
forget that I'm not the real thing." Bella sees the 
supposed woman in her husband's arms, and proves 
to everybody's satisfaction that she is more than a bit 
jealous. 



COSTUMES 

George. About thirty. Street costume, with hat, 
overcoat, gloves, etc. 

Bella. About twenty-five. Handsome afternoon 
dress. 

Soft. About twenty-five. At first entrance wears 
ordinary business suit, and a uniform cap. At second 
entrance is dressed in feminine attire, with short skirt, 
gay hat, hand-bag, fancy shoes, etc. 

PROPERTIES 

For Bella: Novel. 
For George : Hat and overcoat ; pistol. 
For Soft: Box, containing lady's waist, wrapped 
as though just from store. 

SCENE PLOT 

INTERIOR. &ACX//YG 




Scene. — Parlor or sitting-room of the Schemers. 
A handsome interior, with suitable furnishings. Doors 
up c. and at r. and l. Lounge or sofa l. Table and 
easy chair l. c. Chair up r. c, near door c. Pictures 
on walls. 

4 



Not a Bit Jealous 



SCENE. — Parlor or sitting-room in the home of the 
Schemers. 

{Discovered: Bella Schemer, l. c, in easy chair, 
reading a book.) 

Bella {reading). " ' Who was that man who 
bowed to you ? ' demanded Alonzo, when they were 
alone. ' Why, Alonzo, how strangely you speak/ 
' Huh, you try to evade the question. I demand an 
answer.' {Dramatically.) 'Who is that man?'" 
{Lets novel fall in her lap, and repeats.) Who is that 
man? Oh, if George would only talk to me like that 
once in a while. This is a beautiful story. The young 
bride's husband is insanely jealous of her. He makes 
love to her all day and won't let her look at another 
man. And they have been married nearly two months. 
{Rises and throws novel on table.) Oh, if George 
were only like that — if I could only make him insanely 
jealous of me! He neglects me — that's what he 
does — he doesn't care for me any more. {Leans 
against table, l. Picks up novel again and opens it. 
Reads.) " Who is that man? " {Lays book on table, 
thinking.) Ah-ha. That's it. That's the answer. 
If he once saw another man making love to me George 
would wake up. Now — {crosses r., thinking hard) 
now — who is that man ? 

{Enter Hiram Soft, up c, carrying a box containing 
a silk waist.) 

Soft. Who, me? (Bella turns, startled.) Were 
you talking to me, ma'am ? 

5 



6 NOT A BIT JEALOUS 

Bella. No, certainly not. Who are you — where 
are you from? 

Soft. From Yard and White's, ma'am (or name a 
local firm). Are you Mrs. Bella Schemer? 

(Looking at name on box.) 

Bella. That's my name. 

Soft (coming down r. a). A package for you 
from our store. A gentleman bought it and ordered 
it sent here to this address. 

(Gives box. She opens it and holds the waist up to 
view. ) 

Bella. The very shirt-waist that I admired yes- 
terday. It's very pretty — but, oh, why didn't he let 
me go and buy it for myself? 

Soft. Search me ! 

Bella (glaring at him). Sir! Of course it's very 
pretty but I want to do my own shopping. 

Soft. Uh-huh ! Ladies are never satisfied ! I 
hear the same story wherever I go. 

(Goes l. and looks at pictures on wall.) 

Bella (dramatically). That's because men do not 
understand women — and never will. 

Soft. You're right! They don't even understand 
themselves. 

Bella (crossing l. to Soft). Have you ever been 
in love? 

Soft (edging away). Now, now, I've got my 
fingers crossed. I came near falling in love once, but 
when I looked at my pay envelope I found I couldn't 
afford such luxuries. 

Bella. Would you like to earn a little money ? 

Soft. Say — would a duck swim? What's the 
game? I'm in it. 

Bella. Very well. I'll unravel the plot. You will 
laugh when you hear it. I want you to make love to 
me! 

Soft (looking at her doubtfully). I don't see 



NOT A BIT JEALOUS *r 

where the laugh comes in. Nothing doing. I'll make 
love to you and you will sue me for breach of prom- 
ise Oh, no. I'm not taking any chances. 

{He retreats warily up l. c. behind table.) 

Bella. Don't be ridiculous. This is business. I 
want to make my husband jealous. 

Soft {coming down r.). How big a man is your 
husband ? 

Bella {crossing to R. c). Oh! He is quite an 
invalid. You need not be afraid of him at all. 

Soft (r.). Are you sure that he wouldn't do me 
some bodily harm? 

Bella (r. c). I am quite sure! I wish to arouse 
his jealousy — that's all. You pretend to make love to 
me. If it works, and we make him jealous, I'll protect 
you. 

Soft. Well, it sounds all right. How much ? 

Bella. Well, really {smiling at him), don't you 
think that considering the pleasure and 

Soft {firmly). This is in business hours. Our 
price for making love in business hours is ten dollars — 
cash. 

Bella {sighing). Oh, you business men. How- 
ever {Takes purse from table and hands him a 

bill.) Now, let's begin. 

Soft {not quite sure whether to humor her or to 
run) . Well, what are we going to I hardly 

Bella. Don't forget, this is business. Now, make 
love to me. 

Soft. Well, you're a perfect stranger to me. Er — 
what kind of love do you like ? 

Bella. Have you a sweetheart ? 

Soft. Oh, yes, three or four. 

Bella {going to sofa, l.). Well, then just imagine 
I'm your best girl. Come, now — start in. Come on. 
(Soft takes a step toward her.) My, but you're slow. 
Come here. (Soft runs to her, stops suddenly.) 
That's right. You're getting the idea. 

Soft. Certainly. What do I do next? 



8 NOT A BIT JEALOUS 

Bella. Stupid. Sit down here by me. {Makes 
room for him on sofa. He sits on end toward audi- 
ence.) Now then. We'll rehearse a love scene, like 
they do in the movies. You are the bashful lover. 

Soft. Yes. I'm bashful, all right. 

Bella. And I am not at all bashful. 

Soft. You're right you aren't. {Confused.) I 
mean, yes, ma'am. 

Bella. Don't say " yes, ma'am." Call me darling. 

Soft {in a ridiculous small voice). Darling! 

Bella {taking his hand). Oh, not that way. 
More warmly, like this. {Languishingly.) Darling! 

Soft {still stiffly). Darling! 

Bella. You're getting the idea. Now put your 
arm around me. {He does so, timidly. She puts her 
head on his shoulder.) That's the way. {Looking 
up at him and speaking dramatically.) Oh, Armand, 
my loved one, how I have longed for your kiss. ( Soft 
hugs her and gives her a kiss. She springs away from 
him. ) Oh, that was a real one ! 

Soft. Certainly. I'm getting the idea now. 

Bella. Not — not too warmly, you know. This is 
business. 

Soft {laughing). All right. {Takes her hand.) 
Now begin again. 

Bella. All right. Warm, you understand, but not 
too warm. Now. {Dramatically.) Oh, Armand, no 
tongue could tell the depth of my love for you. {In 
natural voice.) Put your arms around me. {He does 
so.) That's it. A little closer. Oh! 

{She nestles against his shoulder. Enter, up c, 
George Scfiemer. He looks at them in astonish- 
ment.) 

Soft {tenderly). Oh, my darling, my dearest one. 

(George, enraged, takes off hat and overcoat and 
throws them on chair up r.) 

Bella. Armand, you are my only comfort. My 
husband treats me cruelly. (George takes a step to- 



NOT A BIT JEALOUS 9 

zvard them and stops, clenching fists.) Take me 
away from here. I will fly to the end of the world 
with you. 

Soft. Sweetheart S Nothing shall part us again — 
nothing, I say — no one, no — (looks up and sees 
George, and stammers) er — that is, hardly any one. 
(Takes arm from Bella's waist.) I — I think we 
have company. 

Bella (tkrozving herself on his shoulder). Oh, 
you must not leave me, Armand. I would die for 
you. (George takes out a pistol. Soft hastily rises. 
George puts pistol in pocket.) Armand! You re- 
pulse me! You cannot be so cruel. (Throws herself 
on her knees, seises his hand and kisses it, while Soft 
frantically tries to take it away.) Armand, speak to 
me ! You are the only man I love. 

(George, up r. c, makes threatening preparations.) 

Soft. I know, but I've got to get away from here. 
Let go of me. 

Bella (with tender reproach). Why, my darling, 
have you ceased to love me? Why are you so cold? 

(Rises.) 

Soft. Well, two is company, but three is a crowd. 
Bella. Three. What do you mean? No one 
will ever come between us and separate us. 
George. Except your husband! 

(Speaks as he comes down between them, hurling 
Soft to r. Bella screams.) 

Soft. Look out who you are pushing! 

George (c, to Bella). Madam, who is this fellow 
Armand ? 

Soft (r.). Excuse me. My name is not Armand. 
My name is Hiram Soft. The lady asked me 

George. Asked you, eh ? You scoundrel ! You 
come into my home like a serpent and make love to 
my wife, do you ? You — miserable worm ! Say your 
prayers ! 



IO NOT A BIT JEALOUS 

Soft. I don't know any. I was brought up in 
Phcenixville. (Use name of neighboring town.) 

George. You miserable excuse for a shrimp ! 
Prepare to die at the hands of a wronged husband. 
(Seises Soft, who yells for help, and flings him 
around as he shouts.) I'll kill you — I'll break every 
bone in your body, etc. 

Bella (screaming). Oh, George! Don't kill him ! 

Soft (loudly). George! Don't kill little Hiram. 

(George picks Soft up and throws him down on the 
floor and produces the revolver. Bella screams 
again. ) 

George (a). Madam, go to your room. You 
know that I am a jealous man — but now I am crazy. 
Go — go ! Leave me with your lover. You will never 
see him again. (Takes out pistol.) 

Bella. George, listen. You must not 

(Bella wishes to remain, but George in his insane 
fury drives her out l. Then Soft, down r., sits up.) 

Soft. Georgie, calm yourself. Let's talk this thing 
over. 

George (up c). Not until I have killed you. 

Soft. It may be too late then. (Rises.) Point 
that pistol the other way. Now, Georgie, have sense. 

George (coming down c). Don't dare call me 
Georgie ! 

Soft. Now don't, Georgie. (George threatens 
him.) All right, I won't call you that, Georgie. Now ( 
let me explain this business before you send for the 
undertaker. 

George. Go ahead. Your life hangs by a thread. 

Soft. First of all your wife engaged me to make 
love to her. (George points pistol.) Now, Georgie, 
stop fooling with that gun. She engaged me to make 
love to her to make you jealous. 

George. Who are you ? 

Soft. My name is Hiram Soft. I'm a delivery 
clerk for the big department store. (Mention local 



NOT A BIT JEALOUS II 

firm.) I came here to deliver a package and your 
wife fell in love with me — no — no — I don't mean 
that. I mean that she is romantic and wanted to 
make you feel jealous and I'm the object selected to 
get your goat. 

George. My wife engaged you to make love to her 
just to make me feel jealous? 

Soft. Yes — so help me New Jersey. Here's the 
money she paid me. (Shows bill) 

George. And you're not in love with my wife ? 

Soft. I wouldn't have her for a gift. Look out 
with that pistol. 

George. So that's the little scheme, is it? 

Soft. That's the whole scheme, and I came near 
getting killed for it. 

George (laughing) . Now here's where I get even. 
You are going to be a lady. 

Soft. Not me — I'm bad enough as I am. 

George. Dress as a lady and make love to me. 

Soft. Say, what is this — the crazy house? 

George. Come ! Do as I say and I'll pay you well. 
It will be a good joke on my wife and enable me to pay 
her back in her own coin. Here! (Gives money.) 

Soft (pocketing the money). All right. Where's 
my equipment — my upholstery — my feminine glad 
rags? 

George. Go into that room. (Points r.) You 
will find everything needed. Now hurry up, and we'll 
have lots of fun out of this. 

Soft (starting r.). I hope so — but remember th^t 
I'm a lady. 

George (r. of table). I won't forget it. (Partially 
forces him out r., bidding him to hurry and be care- 
ful.) Now, Mrs. Schemer, we'll turn the tables on 
you. I'm not a bit jealous, but I'll test you. 

(Enter Bella, l.) 

Bella (coming down l.). Where is your victim? 
George (a, coolly). I killed him and buried his 
body in the coal cellar. 



12 NOT A BIT JEALOUS 

Bella. George — be sensible. I'm glad he's gone. 
And you were jealous — admit you were awfully 
jealous. 

George. I've never been jealous in my life. It's 
you, madam, who are jealous. 

Bella. I ? There's not a jealous bone in my body. 
I wouldn't be jealous of you, anyway. 

George (r. of table). And you are nobody to be 
jealous of, either. You read novels and moon around 
here kissing the cat. 

Bella. I'd rather kiss the cat than kiss you. 

George. Two of a kind. But I pity the cat. 

Bella. I hate you. 

George. Fine. That suits me. I'm the best little 
hater you ever met. 

Bella (furiously) . I'm going home to my mother. 

George (calmly). It's better than bringing her 
here. 

Bella. Oh ! You monster ! 

George. Oh, you Vixen! (They scowl at each 
other across the table and Bella flounces out l., burst- 
ing into tears as she does so. George laughs, r. of 
table.) I've got her started. 

(Enter Soft, r., attired as a lively female. Short 
dress, gay hosiery, fancy shoes, a very bright colored 
hat and hand-bag. He flounces in ad lib.) 

Soft (coming down R.). Say! How do I look? 

George (at table a). Splendid! You look the 
part. 

Soft. But I feel rather uncomfortable in these 
togs. 

George. Never mind. It won't last long. Your 
name is Mabel. Come here. 

(Sits in chair r. of table and takes Soft upon his lap.) 

Soft. Say! Don't forget that I'm not the real 
thing. 

George. Oh, Mabel darling ! I have loved you for 
so long that you are part of my very existence. 



NOT A BIT JEALOUS 13 

(Bella appears at l.) This is the first time I have 
ever loved any one. 

Bella (at door l.). He told me the same thing. 
Oh ! (Clutches the air in her anger.) 

George. We shall elope and live like two canary 
birds. Oh, Mabel — Mabel darling — give me one 
sweet kiss to bind our hearts together. Oh, my 
affinity ! 

(Bella, frantic with jealousy, now dashes down and 
seizes Soft and flings him to r. George rises.) 

Bella (c.). Well, hussy! Right in my own 
house, too. Leave here this instant. 

George. Oh, a little jealous, eh ! 

Bella. What, jealous of a painted doll like that? 
Not a bit! (To Soft.) Go — do you hear me — go! 

(Makes a frantic dash at Soft as she screams. She 
pulls off the supposed woman's hat, then her wig, 
then seizes the skirt or gown that is made apron like 
to be pulled off and expose a white skirt beneath it. 
Soft is yelling Police! and Murder! and running 
about to escape the frantic woman. He stops at 
last down c.) 

Soft (a). Hold on! Hold on! Are you all 
crazy ? 

Bella (r. c.). Oh! It's the man I hired to make 
love to me. 

George (l. c). And I hired him to represent a 
woman and make love to me. 

Bella (sobbing). Oh! George! I'm a fool. 

George (smiling and crossing to her). Bella, I'm 
a bigger fool than you are. 

(They fall into each other's arms, saying, "Forgive 

. me," as they embrace. Soft limps to the door R. 

with battered hat, etc., turns and "blesses" them.) 



CURTAIN 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HIIX SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
i etc., with an interesting love story. The graduation exercises 
' include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HIIX SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
■?nsy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. Price, 15 cents,. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hali. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
fcainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN DAY AT BI*OOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
ifun from start to finish. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOH DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
Dumont. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding positron." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



LIBRARY OF CONGRESS 




The Power of E: 

»-'*■ a i* • u a- u 017 401315 9 
Expression and efficiency go hand in hai. 

The power of clear and forceful expression brings confi- 
dence and poise at all times — in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 

A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request. 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



